Prod: Eliyannah A. Yisrael Date: Day: Day 1 of ∞
A Sunshine Moxie Production · The Forest of God's Answers
Loc: Chicago / LA PG 3 / 8
Section 03 · Crew

The Crew

Above the line, below the line, what I take in, what stays the same.

Eliyannah, director, on set standing in front of a monitor talking to a crew member
PORTRAIT · 03A DIRECTOR
Above The Line DGA / WGA — eligible
Director Eliyannah Amirah Yisrael
Writer Eliyannah Amirah Yisrael
Creator of Record Sunshine Moxie

Eliyannah Amirah Yisrael is writing and directing The Caterpillar and The Butterfly, her first feature. It is a Black Midwestern film about two women, strangers, who ride the same bus on the south side of Chicago, made in the cinematic tradition she calls Hood New Wave. The film is in active development with a targeted shooting date of spring 2027.

She is a Chicagoan, raised on the south side. Her sensibility was built on two essential ingredients: observation and literature. Before directing independently, she spent ten years in scripted production in Hollywood, working for studios including Sony, FOX, NBC, HBO, Lionsgate, ABC/Disney, Paramount, and Warner Brothers, assisting Sanaa Hamri on Empire and Julie Taymor on The Glorias, work that shaped how she thinks about directing. Her webseries Hermione Granger and the Quarter Life Crisis was covered by PBS, Emmy magazine, The Los Angeles Times, and Elle UK. She lives and works between Chicago and Los Angeles.

Section A · References

What shapes the eye.

Filmmakers
Robert Townsend, Bob Zemeckis, Penny Marshall, Ryan Coogler, Zhang Kaizhou, Elia Kazan, Nora Ephron, Barry Jenkins, Julie Taymor, Ahn Pan Seok, Julie Dash
Neorealism
Varda, De Sica, Truffaut, Rossellini
Photography
Michelle V. Agins, Gordon Parks, Florestine Perrault Collins, Dawoud Bey, P.H. Polk, Devin Allen, Jimmy Gayle, Amanda D. King, James Van Der Zee, Stephen Shames, Carrie Mae Weems, Roy DeCarava
Sound
Stevie Wonder, Louis Armstrong, Kirk Franklin, Brandy, *Nsync, SWV, Thomas Dorsey, R&B, Beyoncé, Chicago House
Books
Sophie Kinsella, Jane Austen, Zora Neale Hurston, J.K. Rowling, Ann Petry, Toni Morrison, Colson Whitehead, W.E.B. Du Bois
Place
Chicago. The South Side. The West Side. Over East. The Black Midwest as an origin, not a stopover. Kentucky. Mississippi. Alabama. Black America.
On Set
Every HOD I've watched run a department with joy and precision. Every crew member I've worked with and learned from.
The Form
Celluloid preferred.
Etc.
Bags. I've carried bags full of books & notebooks for as long as I can remember, they feel like the lifelong carriers of my imagination. Coach, Aspinal of London, Tote & Carry, Quince, MAX + min, Julian James BLG
Section B · Continuity

What stays the same in every project that comes from me.

01 Black people are the whole of the frame. We are not a point the frame is trying to make.
02 Chicago is specific. The south side is specific. The Black Midwest is specific. Every city I shoot in gets the same attention I give my own.
03 Shooting on film considered. Because the medium is part of the argument.
04 There are no limits to my Black imagination.
05 The audience I am working for is the audience inside the frame.
Section C · Below The Line History

The studio years.

Over ten years in scripted production in Hollywood — Sony. FOX. NBC. HBO. Lionsgate. ABC / Disney. Paramount. Warner Brothers. Never worked above the line at the studio level but worked adjacent to it, working as crew, primarily in production and logistics.

The résumé version is in the press kit, the useful version is the one I already carry: a working knowledge of how a studio show functions, what a real budget conversation sounds like, and how decisions are made that shape the work before the director ever sees the set. Understanding production has made me a stronger director.